REVIEW: Norman Lear: Just Another Version of You

1 05 2017

Norman Lear is, to borrow a term used by the President to describe Frederick Douglass, being recognized more and more these days. But unlike the abolitionist hero, Lear is still alive! Luckily for us, his work and enormous contributions to shaping American society by revolutionizing the sitcom are receiving their proper due. Lear himself is not content to go gently into that good night, either; the nonagenarian just kicked off a podcast this month!

A few years ago, however, Lear penned a memoir, and documentarians Heidi Ewing and Rachel Grady came along for the book tour. Their observations on the journey form the backbone of “Norman Lear: Just Another Version of You.” It’s definitely a puff piece, though the halo is dim enough that it falls short of hagiography. Their film lands somewhere in Sunday morning news magazine segment territory, just at a feature length, which is a fine place to reside.

Ewing and Grady assemble an impressive array of talking heads to interview, ranging from obvious contenders such as comedic peer Mel Brooks and famous showrunners like Lena Dunham and Phil Rosenthal (“Everybody Loves Raymond”) to some genuinely surprising faces like George Clooney. For those who want to understand Lear’s importance and don’t have the time to binge-watch “All in the Family,” this documentary will provide an important primer to his historical importance and continued relevance. Ewing and Grady aren’t pushing the documentary form like Lear stretched the TV sitcom, though that’s hardly an issue. B

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REVIEW: The Wolf of Wall Street

11 01 2014

Sex. Cocaine. Hookers. Profanity. Quaaludes. Destruction. Money. Orgies. More profanity. More sex. More cocaine. More destruction. More money.

Normally these are the kinds of things that liven up a movie, but in Martin Scorsese’s “The Wolf of Wall Street,” it’s pretty much all that’s being served. The movie is three hours of high-intensity bacchanalia in the life and work of Leonardo DiCaprio’s Jordan Belfort. With a piece being played at such a prolonged forte, it’s quite frankly an exhausting and draining film to watch. While obviously satirical and darkly comedic in tone, the sheer amount of repetition dulls outrageousness into monotony.

“The Wolf of Wall Street” is not without its profound moments of insight, however. Yet I was so exhausted by the relentless onslaught of anarchical madness that I lacked the stamina to really analyze Belfort’s speeches and Scorsese’s curious stylistic choices. Screenwriter Terence Winter and Scorsese present Wall Street as a synecdoche for America, and I’d be curious to re-watch some scenes again and subject them to further criticism.

But that dissection is going to have to be on video or as YouTube clips because I simply don’t think I could sit through “The Wolf of Wall Street” in its entirety again. The film may not condone the behavior it presents on screen, yet it’s so drunk on its own energy it luxuriates in all these obscene shenanigans. It doesn’t really matter if Scorsese communicates disgust for Belfort’s actions; by including such a large volume of his antics, he glorifies Belfort’s narrative over those left ruined in his calamitous wake.

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